The technique of collage is widely used cross curricular but is largely associated within Art and Design. Garoian and Gaudelius (p.90, 2008) appear to criticise the use of collage within the classroom, describing it as being devoid of critical choices or concept. My experience of the act of collage is that it is a vehicle which enables pupils to demonstrate skill and ability and great mastery while creating images which mirror the work of other artists, or real individuality and skill in bringing together images and materials which work together successfully, incorporating popular media.
Collage has featured strongly throughout 20th Century art, in particular in Cubism, within the Analytical period, (1910-12, Picasso and Braque). The art of ready- mades from Duchamp, (1887-1968: Dada, Surrealism, Conceptual Art) and assemblages, Ron O’Donnell, ‘Still Life is Alive and Kicking’(1986). These artworks have served to make us question how art is created and from what? Pupils are encouraged to re-cycle, re-use materials and be creative in their critical thinking of how art can be constructed from re-usable materials. Collage or the use of found materials/objects can also be the first step to introducing pupils to sculpture or relief art, abstraction and conceptual art.
Garoian and Gaudelius go on to ask many questions about the function and place of collage within art pedagogy. ‘What impact can an art education based on collage pedagogy have on students’ ability to critique the mass mediated spectacle of visual culture?’ (p91)
The philosopher Thomas Brockelman (2001) cited in Garoian and Gaudelius (2008, p.91) described collage as both ‘representational and anti-representational in character’.
In response to the above question, which is central to this essay, it would appear that by being exposed to a range of artworks, constructed from various materials, pupils are being encouraged to become more open-minded, to unlearn what art is or should be, and view art without expectations. This could then have an impact on their own personal expression and open avenues to explore; to see things go together with other things, or not as the case may be; to see art as representational while being its opposite.
Professor Baldacchino in his seminar in GOMA, (2013) invited artist teachers to ‘create an environment for learning’. Such an invitation leads to the artist teacher creating a learning environment which embraces a Critical Pedagogy which questions the how and why of art making. Therefore there are no boundaries when it comes to the range of approaches which students may adopt or be offered in their attempt to visualise thoughts and ideas. Investigating and researching themes within an Expressive Unit or exploring an area of Design, pupils are encouraged to produce ‘mood-boards’ which are, in themselves, collage.
Garoian and Gaudelius further question ‘How does the disjunctive narrative of collage inspire curriculum and pedagogy?’ (p.94). As afore-mentioned various forms of art encourage a new way of viewing or labelling, or unlearning what to expect from art; to see art as a contrast, contradiction or opposite of what it should represent. Thus the disjunctive narrative of collage enriches the curriculum and pedagogy and pupils’ experience thereof.
Garoian, C, Gaudelius, Y. (2008) Spectacle Pedagogy: Art Politics and Visual Culture. New York: State University of New York Press
UWS Artist Teacher Programme (Baldacchino)(2013): Art as Unlearning: Finding a Place. Seminar GOMA, Glasgow.
